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  Designers: Leslie Travers - Reviews

Billy Budd‚ Opera North
The Herald Scotland (December 2016)

'Phelan’s staging‚ on Leslie Travers clever two-level set that is as much decaying building as late 18th century man-o-war‚ brilliantly conveys the pecking order on the quarter-deck as well as the cramped conditions of the men‚ and the superb chorus is kept very busy all night.'

The Marriage of Figaro‚ Opera Philadelphia/Lyric Opera Kansas
Kansas City Star (November 2016)

'Major kudos go to Leslie Travers‚ whose richly detailed‚ character-defining costume designs were sumptuous‚ his regal set design crafty and versatile.'

Billy Budd‚ Opera North
Leeds List (October 2016)

'It’s impressive to behold‚ both realistic and fantastical‚ with curved surfaces sweeping down onto the stage and crooked edges creating ominous shadows. Seriously‚ kudos to Set and Costume Designer‚ Leslie Travers‚ he outdid himself here.'

Don Carlo‚ Grange Park Opera
The Telegraph (June 2016)

'Jo Davies directs resourcefully and sensibly against Leslie Travers’ versatile set‚ in which brutal concrete walls are made to suggest prison‚ palace and plaza in turn. Period kitsch is held at bay: costuming is austerely black‚ with atmosphere created by flickering flame and candles. '

Pleasure‚ Opera North
Classical Source (May 2016)

'The star of the evening‚ apart from Garrett‚ is the production design. Huge‚ squat letters spelling out the title of the opera form the acting and singing space‚ lit in changing colours to reflect the gaudy location and the flames of Hell. The horizontals gave Garrett shelves for toilet rolls and hand cleaner‚ the curves of the letters winding around a urinal and a basin – industrial‚ functional and startling.'

Pleasure‚ Opera North
MusichOMH (May 2016)

'Leslie Travers’ set is highly atmospheric‚ with glistening stringed curtains surrounding the stage‚ and huge letters standing in the centre that spell out ‘pleasure’ as they light up.'

Rebecca‚ Kneehigh
The Guardian (November 2015)

'The real star of the show is Leslie Travers’ design‚ offering a space where house and beach meet and where past‚ present and future coil around each other like the smoke that eventually engulfs the house. Rice uses the space brilliantly‚ offering an image of Rebecca like a drowned mermaid‚ and turning Manderley into a rocky obstacle course and a place where the louche and the elegant‚ popular culture and snobbery‚ freedom and imprisonment‚ all co-exist.'

I Puritani‚ Welsh National Opera
The Arts Desk (September 2015)

'The most striking moment of the production‚ and by far its most memorable passage‚ is Arturo’s first official entrance as a Cavalier aristocrat (the scruffiness is part of the usual preludial dumb-crambo)‚ and Elvira’s switch from blue twin set‚ vintage 1970‚ to a flowing dress of the civil war time. Here something subtle and intriguing takes place. The flowing dress has already appeared while the twin set was onstage and singing; but soon the flowing dress is singing while the twin set looks on. Double casting? No‚ but a doppelganger‚ cunningly staged and designed (by Leslie Travers).'

I Puritani‚ Welsh National Opera
What’s On Stage (September 2015)

'…Elvira‚ much earlier in proceedings than Bellini or Pepoli envisaged‚ is prone to psychotic episodes. And she’s stopped taking her tablets‚ so by the time designer Leslie Travers unleashes his brilliantly simple coup de théâtre she’s in a bit of a state.'

Salome‚ Santa Fe Opera
The New York Times (August 2015)

' Set in the early 20th century‚ the production is a headily‚ effectively Freudian take on the piece. Several scenes suggest spaces in the mind‚ like Jochanaan’s cistern‚ here a creepily arid‚ crumbling attic where he sits at a table‚ scribbling. …
Here was opera with vividness equal to the stunning landscape surrounding it.'

Rebecca‚ Kneehigh
The Telegraph (May 2015)

'Leslie Travers’s extraordinary set expresses a world where nothing is quite what it seems. Like something out of a Salvador Dalí painting‚ the ruins of a stately home (huge chandelier‚ peeling plasterwork‚ a grand broken staircase) merge into a sweep of rocks and the upside-down hull of a wrecked boat.'

The Marriage of Figaro‚ Opera North
The Telegraph (January 2015)

'Jo Davies’s interpretation‚ cunningly designed by Leslie Travers‚ has no ideological axe to grind in moving the drama to an early twentieth-century setting...
The net result is a Figaro of exceptional ensemble‚ rich in charm‚ humour and vitality: beautifully sung‚ sensitively staged. For pure enjoyment‚ what more can opera offer?'